Jonas Cisar Romme

Jonas is lecturer in music education and community music and researcher at Western Norway University College of Applied Sciences, campus Stord. Since 2016 he has been central in the development of Scandinavia’s first bachelor program in Community Music.

Jonas is active as a researcher in “School and concert – from transmission to dialogue” – an innovation project on Norwegian professional visiting concerts in partnership with Kulturtanken, founded by the Norwegian Research Council (www.diskoprosjektet.no). This project runs for four years from 2017.

He holds a master’s degree in Creative Subjects and Learning Processes from 2015. The thesis is named “My Music Performance is Changing!” – Perspectives on “The Aesthetic Talk” in Ensemble Teaching in Upper Secondary School.

Teaching subjects: Arranging/Composing, popular music and jazz music history, ensemble playing, how to workshop, ear training, music theory, community music philosophy, history and central concepts, supervision of bachelor candidates.

He has a background as a music teacher in Norwegian upper secondary school (“Musikklinja”), in municipal culture schools, as music reviewer, arranger for choir and big band, and is currently conducting/leading and arranging for a local big band.

Jonas’s research interests are creativity, learning processes, inclusion, democracy and sustainability, the potential of community music praxis in Scandinavian music pedagogy, music philosophies and their relationship to quality conceptions.

Playing to learn or learning to play? New article in British Journal of Music Education

The article “Playing to learn or learning to play? Playing Rocksmith to learn electric guitar and bass in Nordic music teacher education” was published 16th November 2018 by Sigrid Jordal Havre , Lauri Väkevä Catharina R. Christophersen  and Egil Haugland in British Journal of Music Education. 

This article is based on a case study of how the Rocksmith entertainment music video game can be used in the context of studying electric guitar and bass as part of music teacher training. In empirical terms, we were interested in how music teachers’ knowledge becomes articulated in the pedagogical discourse of our participants. As conceptual points of departure, we used play theory, game studies, and the Technological Pedagogical Content Knowledge (TPACK) model of teacher’s knowledge. Four ways of approaching the potential role of Rocksmith in music teacher education stand out as a result. In the discussion, we suggest that music gaming can be conceptualised as an activity that expands the reach of what can be considered as ‘playful’ and ‘serious’ in music teacher studies. Such an approach can guide our thinking about how different areas of music teachers’ knowledge merge into multidimensional competence, paving the way for further discussion about how ‘music educatorship’ can be constructed in the digital era.

See more about the article here:   https://www.cambridge.org/core/journals/british-journal-of-music-education/article/playing-to-learn-or-learning-to-play-playing-rocksmith-to-learn-electric-guitar-and-bass-in-nordic-music-teacher-education/0119E77C73FA85167F9185ABD7EFFB43

Tine Grieg Viig defended her doctoral thesis

 The 7th December 2018 Tine Grieg Viig defended her doctoral thesis at the University of Bergen. The thesis is named The Dynamics of Creative Music Making: A socio-cultural perspective on learning in creative musical practices, and explores how learning is shaped and facilitated in creative musical practices. The study is designed as a multiple case-study, where interviews and video-observations have been the main source for empirical material.

The thesis consists of four articles and a synopsis. The first article is a literature-review of relevant research from the last ten years published in selected music education journals. The next three articles present results from the analysis of the study’s empirical data. The study contributes to a discussion about how to understand different forms of learning and the facilitator’s role in creative musical practices from a socio-cultural perspective. 

For more information about the doctoral defence, see https://kmd.uib.no/no/kalender/disputas-for-tine-grieg-viig

The Dynamics of Creative Music Making: A sociocultural perspective on learning in creative musicking practices

The compilation thesis entitled The Dynamics of Creative Music Making: A sociocultural perspective on learning in creative musicking practices investigates how learning in creative practices can take shape and be facilitated when children and adolescents create music. The dissertation comprises a summary and four blind peer review articles examining creative music making projects from a sociocultural perspective.

The main aim of the thesis is to increase the knowledge and understanding of the learning processes taking place in the shared activities of the community of practice in three different cases taking place in Norway, and how these creative music making practices were facilitated. The research was designed as a qualitative multiple case study, building a combination of interviews and observations of the creative practices as main data collection methods. The empirical data consists of interview transcriptions, musical material, observations and video-recordings.

Through a sociocultural perspective, these practices were analysed as dynamic relationships of musicking, including the use and transformation of mediating tools, and development of aesthetic, artistic and structural reflection-in-musicking. The findings in this study suggest ways of understanding forms of learning in creative musicking practices as social, cultural and situated. First, the facilitator role is discussed in terms of multiple modes of facilitation in an informal learning context. The modes are identified as scaffolding, co-participation and collaboration, and management and distribution of cultural tools. Second, an analysis of adolescents’ development of aesthetic, artistic and structural reflection-in-musicking brings forward an understanding of how learning in musical creative practices can take shape in the process of writing an opera. Third, mediating tools such as different forms of notations, music making actions and interactions, and meaning and transformed experiences are found as crucial in a project involving pupils in a formal learning context.

The results from the analysis point at the complexity of understanding learning in creative music making practices, which builds on dynamic sets of relationships, repertoire and shared participation. Implications for the music education research field includes a discussion of the distinction between learning and experiencing, as well as the roles of the teacher and the artist. The study points further at the importance of understanding learning as a crucial part of creative music making practices.